First things first, let’s address the L.E. Funt in the review… Sure, we’ve all done stupid things in our youth. I am now able to balk at some of the things I’ve said and done, in jest and worse in complete seriousness, thankfully (I hope) none of it was ever captured on tape to come back and bite me in the butt. N.E. Whey, enough about me. On this album Jon Schaffer produced, with Jim Morris recording and mixing while Tom Morris looked after the mastering. Now these 3 were employed by the band to work for them, so I’m happy to ignore the first’s current predicament as it shouldn’t reflect on the work of the artists involved, i.e.: Joseph Michael (Vocals/Keyboards), Jake Dreyer (Acoustic and Electric Guitars), Anthony Crawford (Bass) and Marco Minnemann (Drums).
Two years ago, I reviewed their second album, which was a posthumous tribute to their fallen bandmate and drummer Adam Sagan, and it was rather heartfelt and poignant. This album seems to revel in the melodic misery but is still able to throw down the gloves and do some bare-knuckled damage when it needs to.
It opens with the short harpsichord sounding intro “Deliver Us Into The Arms Of Eternal Silence” which takes us into the rather fast and thrashy “The Last Scar” which could easily become a favourite of any moshers when they get to play live again. Dreyer’s lead is rapid and catchy and would give most power metal wankery a run for its money, while Michael’s vocals are also able to hit the same high notes they do.
Crawford’s bass runs are emphasised by Minnemann’s footwork on “As I Lie Awake”, where the pace is mellow, but still able to feel quick during the numerous drum rolls. The video also works rather well as a short film and something I enjoyed watching.
Michael’s vocals are full of anguish on “Another Face” as the haunting melodic guitars are injected with heavy guitar riffs and high paced double kicks before disappearing to make way for a gentle bass solo.
At 8 minutes, “Tempest” is just over half the length of the longest song on the album, and because of that is able to flow through a range of movements from a flurry of acoustic guitar to near black metal tremolo while the vocals have an operatic quality to their delivery.
The title track “Curse Of Autumn” is a soothing acoustic number with beautiful vocals, which culminates in 10 seconds of heavy guitars, which turn out to be the main riff from the instrumental “The Unyielding Grip Of Each Passing Day”.
Picking up the pace again, the frantic drumming on “The Other Side Of Fear” have the feeling of running away in a nightmare where you just can’t get away from the galloping behind you, while the leads do try to soothe and calm you down, whereas Michael’s death growl lets you know the menace is still lurking in the shadows.
Another vocal and acoustic guitar track, “The River” is stripped down simplicity, yet all the more heart-wrenching for it, especially when the guitars kick into their full majesty and the lead soars.
The rather epic “… And They All Blew Away” is ballad-like at times with soft acoustic passages that morph into heavily charged walls of guitar that are filled with anger and resentment, to the point there is almost blasting on the drums.
The acoustic cover of Boston’s “Long Time” is full of melancholy and angst, now to go listen to the original to see if it’s worth comparing… and now that I hear it, I recognise the song. This version is completely stripped back and probably “heavier” because of how bare it is.
I enjoyed the album, as it goes from light to heavy, fast to slow, melodic to aggressive and Witherfall prove they can do that in a single song at times too.
(8/10 Marco Gaminara)
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